Wheeling register. [volume] (Wheeling, W. Va.) 1878-1935, 1887-04-09
THEDANCE OF THE GYPsIEs.
The SeusuOus Gyrations Seen Only In
sunny Spain.


1.-The flamenco the dance of the gyp-
sizes, Is OF oriental origin. 1t has the I'M
passive quality, the suppressed, tantalized
sensuOusness belonging to Eastern per-
tOrmanCes in the statutory line. 1t forms q
popular entertainment in cafes of the lower
order throughout the southern provinces of
Spain. Ifthe reader were one Otthe visiting
party he would be conducted toward an
apartment in the crook of an obscure and
dirty street, where there would be found Il
number OF sailors, peasants and 'ChulOs,
with here and there well dressed citizen.
The order would be To sit at the small
tables and drink. In one corner is a stage
rising TO about the level of the face when
seated. Ca this about dozen men and
women cOngregate, the latter quite a.
much Spanish as gypsy, and some dressed
in tights. The star danseuSe, the Chief
mistress of the art flamenco" dresses in
a yOluminOus calico skirt that does all it
can 10 conceal the amazing skill of muscu
lar movement involved.
At last the moment for the flamenco
arrives. The leader begins Ia beat mOnOtO-
nously on the boards Just as Indians do
with their tOmahawks to set the shytOu,
the guitars striking into the strain. Two
Of three women chant a wemd song, and
all clap their hands ina peculiar measure,
now louder now FAINTER, and with pauscS Of
varying length between the emphatic pas
S;lges The dancer still retains her seat,
seeming to demand encourage.
ment. The others call out
"Olle" Ia gypsy word for bravo.
and smile with mods of the head to draw
her out. All this eXcites lively curiosity
in the spectator, who wonders what is com
ing next. Finally she arises, smiling
scOrnully, her eyes light up, she throws
her head back, and her face is sutluSed
with an expression OF daring and energy.
Her arms are thrown out and up shesnapS
her fingers and makes easy passes with her
hands before her face. Her body is also in
gentle motion, there being Il sort of vibra-
ton, while the feet beneath The flowing
skirt take up repressed rythmical figure.
Slowly the dancer advances, then cir
Giles, without appearing To step. The
music goes on steadily, the cries OF the
other performers becoming more and more
animated, while she continues the gestures
Win tue dlhlS anu SudpptuSOl thC hhSStS'
Her feet 20 a little faster, and can he
heard tapping on the floor rs they weave
out the measure, but there is not the
slightest approach to a spring. The
progress is sinuous, gliding, shuttling.
Forward again! The dancer gazes in
tently in front as she advances, looking
triumphant, and perhaps with spark OF
mischief in her eyes. She stamps harder
on the floor, the others clap their hands
more enthusiastically, and cry out with
increased zest:
"Olle Olle'
Bravo, my gracious onen'
"Muy bien. muy bien.'
The dance becomes more imprisoned,
hut in no way mere violent. Her body
does not move above she hips. 1t il only
her eyes that twist and turn and bend.
The browning achievement is when the
hips begin TO sway, too, and while she,
advancing and reCeding, executes what APP
pears to be rotary movement. All ut
once the stamping and clapping and
twanging strings are stopped, the dancer
ceases her gyratiOns, and the whole thing
il over.